Try tracking them down in Google and UK bred Moonshot is an eagerly evasive proposition but musically they are one warmly welcoming pleasure especially courtesy of new album, Last Train Home.
Consisting of Dan Kent and Rich Wolfe, Moonshot is an electronica weaving melancholy embracing duo which have been no strangers to praise and recognition through previous releases. Last Train Home is our introduction to their sound which has been described as “Depeche Mode meets Pet Shop Boys and Hurts at Massive Attack’s house party!” You may easily add other eighties nurtured artists to that list yet the London and Margate hailing pair have a sound which is as potently individual as it is at ease revealing its likely inspirations. With radiance burning vocal harmonies and a melodic enterprise which almost physically resonates through every vein of the band’s writing, their new album has proved an unexpected and at times breath-taking treat.
It opens with the lively shimmer of Winter Within, instantly alluring electronic dew glimmering in ears before the song springs into its creative canter around falsetto set vocals. As another burst of energy is triggered, the duo’s truly captivating harmonic union descends perfectly tempered by the darker tone and pulsation of rhythms. Contagion soaks every aspect of the track, its lushness and shadowed intimation a cradle for the band’s vocal prowess and its own suggestiveness.
The following Winter Will Pass is a warmer glaze to the slight chill of its predecessor, again a crystalline soundscape conjured this time with a hue easy to hear why Depeche Mode has especially been mentioned in reference to the Moonshot sound. It too has a dark breath to its often cool caresses and is just as inescapably entrancing before the melancholic sombre of Dark Clouds floats across the senses and imagination. Kent and Wolfe are a sunspot of harmonious beauty, their vocal craft and ethereal dynamics the real sun and heart of the album but as here keenly backed by the understanding adventure and at times climatic contrast of their music. Like a fusion of The Radioactive Grandma and Ladytron the song is irresistible.
The steelier presence of next up Too Much makes just as potent an impression with its rockier ambience soaked saunter, guitars and synths gently swinging to the earnest croon of the vocals while Speak No Words offers a cinematic allusion to its shadow hearted intimacy. The latter also has an instinctive catchiness in its belly which erupts in a chorus which simply beguiles from within the song’s otherwise darkly lit slightly heavy climate. To be honest there are so many major highlights within Last Train Home, and though this may not consistently be one for personal tastes that chorus is aural alchemy.
Illuminations has its own distinct drama, its initial melodic crystals subsequently discoloured and revitalised by the dark atmospheric shadows and headier heavier touch of evocative rhythms. Vocals counter the song’s bold trespass with their usual harmonic radiation, seeping under the skin and into the imagination as richly as the apocalyptic theatre around them.
We did not take to the album’s title track as keenly as other songs yet its melodic luminance as unsurprisingly the band’s vocal enticement is impossible to gloss over as it entices on its way to passing satisfied ears over to Hunting Down the Hunter. You would not say the track was predatory but it definitely has a certain dark edge to its tone and touch even as its dance and infection creating instincts collude and escape into a broadening landscape of persuasion.
The final pair of The Way To Go, a caress of acoustic guitar and vocal reflection within an electronic misting which in certain moments rises to its dramatic feet with compelling tenacity, and the similarly accomplished Angels in the Snow ensures the album’s conclusion is a hug of captivation. The closer is a fascinating slice of storytelling adding just another dark meets light shade to the album’s creative landscape.
Truthfully we did not expect to enjoy Last Train Home anywhere as much as we did due to that fusion of comparisons earlier mentioned, but it was a surprise we have only greedily devoured. There is every chance you will too especially if electronic, pop, harmonic, and atmospheric enterprise is your particular treat.
Last Train Home is available now via F&G Records @ https://fandg.me/independent-label/shop
Pete RingMaster 06/09/2018
Copyright RingMaster: MyFreeCopyright
With no other hand but Hughes involved from writing and playing to recording and producing, the EP opens up with the truly irresistible Poorly Boy. The track rises up with drama and attractive tension in its tone, bringing its thick hues together to burst into an instantly rousing and infectious affair led by the potent voice of Hughes. Though under control, there is tempestuousness to the track which emerges in twists and an unpredictable enterprise that just gripped attention and a quickly forming appetite for the Hypnosister adventure. There is a touch of The Horrors to the song in certain moments too but merely one of the alluring hues in its individuality.
Because of that inherent dislike of certain songs, some tracks certainly got under the skin more than others but all left a smile on the face especially tracks like Smells Like Billie Jean, a glorious mash up of the Nirvana and Michael Jackson classics. There is a vein of unpredictability to the song even with their extremely well-known sources which teases, as good as grins at the listener as song and band romps.
The following Fall to Pieces is a far calmer proposition as a melodic jangle colludes with vocal harmonies before the track settles into its warm catchy swing. There is no preventing the quick shuffle of feet to its stroll, keys adding to its summery scent as vocals and melodies entangle before In the City uncages its own rock ‘n’ roll flame. Within its slightly rawer attack, hooks tease and tempt as riffs nag, Proudman’s beats striking with relish as they drive the infectious escapade.